Monday, 31 December 2012

Singer, bassist and bandleader Bibi Tanga bridges the divide between the arty South Bank of the Seine and the gritty suburbs, where he grew up as an immigrant from the Central African Republic.

Note:

(Demo Short Clips - not downloadables)

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

Sunday, 30 December 2012

Take The A Train / How High The Moon - Dave Brubeck. Could You Be Loved / Exodus - Monty Alexander from Goin' Yard. Mr Broadway / Le Souk - Dave Brubeck. Blues In The Night / Hallelujah I Love You So / Hard Times - David Sanborn from Only Everything. 3Play Dave Brubeck I Get A Kick Out Of You / Allegro Blues / Blue Rondo A La Turk. Soul Connection / Extensions - Big John Patton from Soul Connection. The Peeper - David Sanborn from Only Everything. Parker's Mood / Dexterity / Red Cross - Roy Hargrove from Parker's Mood. Take Five - Dave Brubeck.

This show mainly features Dave Brubeck with the majority of tracks taken from the excellent Ken Burns compilation. I also feature tracks from some excellent recent acquisitions namely Goin' Yard - Monty Alexander,Only Everything - David Sanborn,Soul Connection - Big John Patton and Parker's Mood - Roy Hargrove.

All dj sets & other radio sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

Instant funk formed in the early 70s by Raymond Earl, Scotty Miller and guitarist Kim Miller originally called The Music Machine. Music Machine started out backing local Philladelphia act, The TJN's. In 1971 their manager Jackie Ellis decided to rename the band Instant Funk because of their ability to, "find a groove and lock in to it instantly."

Bunny Sigler discovered the band and they became his backing band before becoming a feature band in their own right. They released their first independent album, "Get Down With the Philly Jump," in 1976.

Side Notes: there are a differences between label and cover data. In the back cover the author of the B4 track is Bunny Sigler. In the vinyl’s label is also reported the name of David Jones.

''It Ain’t Reggae (But It’s Funky)'' (3:51)

Review:

When Instant Funk's debut album, Get Down With the Philly Jump, came out in 1976, those who heard the LP agreed that the Philadelphians had a very recognizable and distinctive sound. Instant Funk had one foot in the sophisticated Philly soul/disco sound and the other in the gritty, down-and-dirty funk of pre-J.T. Taylor Kool & the Gang -- put those things together, and you have a group that was certainly unique and risk-taking. Although Bunny Sigler produced Get Down with the Philly Jump at Philly's famous Sigma Sound Studios, this LP isn't as strong as Instant Funk's subsequent releases would be. The album is uneven, and it doesn't contain a blockbuster hit like "I Got My Mind Made Up." Nonetheless, the material is generally decent; one can hear Instant Funk's potential on infectious tracks like "I Know Where You're Coming From," "Hup Two, Hup Two (Get in Line, Say Get in Line)" and "Philly Jump." In 1976, the best was yet to come for Instant Funk, but Get Down With the Philly Jump indicated that the Philadelphians had a lot of possibilities.

Instant Funk burst on the '70s disco scene with the million-selling single "I Got My Mind Made Up (You Can Get It Girl)" and the gold album Instant Funk. The Trenton, NJ, band started out with the core lineup of bassist Raymond Earl, drummer Scotty Miller, and guitarist Kim Miller. It later expanded to include keyboardist Dennis Richardson; lead singer James Carmichael; horn players Larry Davis, Eric Huff, and Johnny Onderlinde; and percussionist Charles Williams. The band can be heard on sides byEvelyn "Champagne" King (her gold single "Shame"), Archie Bell & the Drells ("Let's Groove," "The Soul City Walk," and "Strategy"), South Shore Commission ("Free Man," "A Train Called Freedom"), the O'Jays (" Let Me Make Love to You," "I Swear I Love No One but You"), Lou Rawls ("From Now On," "When You Get Home"), Gabor Szabo("Keep Smilin'"), and Jean Carn, as well as for their mentor, Bunny Sigler, and his cover of "Love Train," "Keep Smilin'," "Let Me Party With You," "Sweeter Than the Berry," and "Only You," a duet with Loleatta Holloway.

In the mid-'60s, bassist Raymond Earl met drummer Scotty Miller in grade school and formed the duo the Music Machine. In 1973, Scotty's younger brother, guitarist Kim Miller, joined the duo. After hours and hours of playing together, the trio found that they clicked; they became so intuitively "tuned" into each other that they could anticipate and accent each other's playing. In 1968, they began backing local vocal group the TNJs, appearing at local dances and venues building up a good reputation. Around 1971, the group's manager Jackie Ellis christened the backup band Instant Funk because they could come up with funky grooves instantaneously.

Philly soul artist/producer/songwriter Bunny Sigler was invited by Ellis to see Instant Funk and the TNJs perform. Sometime during the show, Sigler was called on stage to perform. He was impressed that the band knew "Sunshine," a song he co-wrote withPhil Hurtt that was made popular by the O'Jays. They began backing Sigler, the Manhattans, and various other R&B acts. As a staff songwriter/producer at Gamble & Huff's Philadelphia International Records, Sigler began using Instant Funk on his sessions along with the TNJs. At those sessions and later, Sigler would record the basic track with Earl and the Miller brothers. Sigler, a brimming fount of ideas, would often stop the band midsong to implement one of his flashes of brillance. They backed Sigleron three of his PIR albums: That's How Long I'll Be Loving You, Keep Smilin', and My Music. Some tracks from those LPs are on Sony/Legacy's The Best of Bunny Sigler: Sweeter Than the Berry and the 1998 Sony CD Bunny Sigler. Instant Funk released a single on PIR's TSOP imprint, "Float Like a Butterfly," and an album, Get Down With the Philly Jump, issued in November 1976, whose title track and "It Aint Reggae (But It Sho Is Funky)" were popular in disco clubs.

Instant Funk can also be heard on sides by the O'Jays ("Let Me Make Love to You," "You've Got Your Hooks in Me," "Once Is Not Enough," and "I Swear I Love No One but You" from Message in Our Music; "Strokety Stroke" from So Full of Love), Archie Bell & the Drells ("Let's Groove," "Strategy," "The Soul City Walk," and "I Could Dance All Night" on Tightening It Up:The Best of Archie Bell & the Drells), the Three Degrees("Take Good Care of Yourself"), Jean Carn ("I'm in Love Once Again" and "You Are All I Need" from Jean Carn), Dexter Wansel ("Life on Mars," the best recording that gives an idea of how the band sounded live, and "You Can Be What You Wanna Be" from The Very Best of Dexter Wansel), and M.F.S.B. ("Let's Go Disco" from Universal Love). The band can be heard on studio bandmate T. Life's That's Life album and LPs by his protégée, Evelyn "Champagne" King (Smooth Talk and Music Box).

In 1977, M.F.S.B. guitarist Norman Harris started his own label, Gold Mind Records, distributed by New York-based Salsoul Records. Sigler signed on as a recording artist. He and the band were constantly in the studio recording ideas and songs. One track, "Let Me Party With You," Sigler would listen to while driving around and excited passengers suggested that he release it. The single, co-written by the Miller brothers,Earl, and Sigler, went to number eight R&B in January 1978. The track was reminiscent of Marvin Gaye's "Got to Give It Up." The album, Let Me Party With You, was a huge disco hit, and included the follow-up single, the funky Sam Peake's sax-drenched ballad "I Got What You Need," "Don't Even Try," and the club hit "Your Love Is So Good."

While brainstorming in the studio, Sigler and Instant Funk came up with "I Got My Mind Made Up (You Can Get It Girl)." Sigler did overdubs on the track at Philadelphia-area studios, Alpha International and Sigma Sound Studios, before taking it to Bob Blank's Blank Tapes in New York. When the track was done, Sigler shopped it around to the record labels, who rebuffed him with comments like "the hook's not strong enough" and it sounds incomplete." Instant Funk signed with Gold Mind, but by the time their single "I Got My Mind Made Up (You Can Get It Girl)" was released, Gold Mind had folded and all of its acts were transferred to Salsoul.

The million-selling "I Got My Mind Made Up (You Can Get It Girl)" (remixed by Larry Levan) parked at number one R&B for three weeks, peaking at number 20 pop on Billboard's charts in March 1979. Their second album, Instant Funk, issued January 1979, went gold hitting number one R&B in spring 1979. Other Instant Funk albums on Salsoul were: Witch Doctor (November 1979), The Funk Is On (October 1980), Looks So Fine (March 1982), Instant Funk, Vol. 5 (January 1983), and Kinky (September 1983). The band backed Sigler on his Salsoul LPs: I've Always Wanted to Sing...Not Just Write Songs (March 1979) and Let It Snow (June 1980). Other Salsoul LPs that feature Instant Funk are Loleatta Holloway's Queen of the Night, Loleatta, and Greatest Hits; Double Exposure's Locker Room; and the Salsoul Orchestra's How High. For eil Bogart's Casablanca Records, the band can be heard on two albums Sigler produced for the label: Party Girl by Patti Brooks and Callin' by the Pips. On Curtis Mayfield's Curtom Records, Sigler and the band are on Barbara Mason & Bunny Sigler's Locked in This Position, the self-titled debut of Mystique featuring Ralph Johnson, andMayfield's own Heartbeat. With the John Brothers, who were featured on Witch Doctor, they recorded a Sigler-produced RCA single, "Try to Walk a Mile" b/w "I Just Want to Be Free," both songs written by Bunny's brother Jimmy Sigler. They are also on Gabor Szabo's Mercury LP Nightflight and Carl Carlton's I Wanna Be With You.

When the Cayre brothers, owners of Salsoul Records, decided to fold the label in 1984, in an effort to concentrate on the then-emerging home video market, Instant Funk was without a record deal. The band toured for a few years then disbanded. Some of the members were still in the music business in one form or another as the 21st century began. Raymond Earl was operating his own studio and production company, Ray Ray Productions. Kim Miller, Dennis Richardson, and James Carmichael went into gospel music. Bunny Sigler was touring the world as a member of the Trammps.

"I Got My Mind Made Up (You Can Get It Girl)" can be found on the CD reissue of their 1979 gold album Instant Funk, Greatest Hits from EMI/Capitol/The Right Stuff, in the movie and on the soundtrack for the Disney/Miramax movie 54, Larry Levan's Paradise Garage, and various Salsoul and Salsoul-licensed compilations.

Amongst the top 5 DJ’s in Italy and the top 50 in the world (according to the acclaimed American “thedjlist” in 2009), Gube as his friends like to call him has been making thousands and thousands of club goers dance for the last 25 years, people from all over the Italian peninsula where he regularly guests at over 350 of the best venues including: Pascià (Riccione), Echoes/Liz (Riccione), Prince (Riccione), Villa Delle Rose (Riccione), Altromondo (Rimini), Pineta and Villa Papeete (Milano Marittima), Matis and Kinki (Bologna), Zangola and Del Alpes (Madonna di Campiglio), Sottovento (Porto Cervo), Mantra (Porto Rotondo), Luna (San Teodoro SS), Estasi’s (S. Teresa di Gallura SS), Sali E Tabacchi (Reggio Emilia), Circus (Brescia), Fura (Desenzano BS), Old Fashion and Fidelio (Milano), Rock City and Life (Torino), Area and Ciarlis (Cortina), Art Cafè, Etò and Piper (Rome), La Mela (Naples), Yab and Costes (Florence), La Fabbrica (Pescara), Seven Apple (Forte dei Marmi), Taitu and Marabù (Taormina – Catania), Bier Garten (Palermo), the list goes on and on…

During his career Maurizio has had the honour of playing alongside international artists such as Benny Benassi, Satoshi Tomiie, David Morales, Masters At Work (Louie Vega & Kenny Gonzalez), Frankie Knuckles, Tony Humphries, Ian Carey and many more.

For years (from 2004 up until 2008) Gube was the producer and artistic director for the labels Spectra & Takuma but since January 2009 he has interrupted his contract with them (his last production in fact with Spectra was Maurizio Gubellini Feat. Melanie ‘Deep Emotions’) enabling him to produce on a more independent basis for varied labels together with a team including Luca ‘Peruz’ Peruzzi and Matteo ‘Elektroshock’ Sala.

His track ‘Moscow Trip’, the Summer anthem of 2005, was played by just about everybody and had great success in the very demanding Ibiza and Mykonos clubs (it was even included on the Space Mykonos compilation). The remix that Gube did of the classic Technotronic track ‘Get Up’ in March 2007 (Global Deejays Vs. Technotronic on Superstar Records) was in first position of the Beatport top ten for well over a month. Recently Maurizio has also remixed tracks for other big names on the scene including Benny Benassi ‘Come Fly Away’ (Ultra Records) and Robbie Rivera ‘Be Near’ (Juicy Records).

Other productions of his that during the last few years have created a big buzz with the young club goers have been ‘Metrosexual’, ‘Space’, ‘Equinoxe’, ‘Thanx For The Add’, ‘Tumble’, ‘Overdrive’ and ‘The Game’.

During his career in production he has worked with numerous leading labels including WeLoveMuzik, Molto, Bootylicious, Stereo Seven, Net’s Work, Deeperfect, Smilax, Bliss, Superstar, Juicy, Ultra,Tiger, High Contrast,etc… It is in fact for this last Dutch label (thanks also to the collaboration with Dyor) that we see Dyor & Maurizio Gubellini ‘Loving You’ (a cover version of the historical Minnie Ripperton track), a tune that created a massive stir at the latest 2009 WMC in Miami getting some wonderful feedback from all over the world.

His 2009 release “INSANE” on WeLoveMuzik rec. has been for over a month in top5 Electro-House on Beatport and has been enclosed in Sensation White (Ministry of Sound – Germany ) and charted by David Guetta, Roger Sanchez, Benny Benassi, Laurent Wolf, Spencer & Hill and many more big artists.

All dj sets & other radio sets are programmed with the permission of the owners.

(Demo Short Clips - not downloadables)

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

All dj sets & other radio sets are programmed with the permission of the owners.

(Demo Short Clips - not downloadables)

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

2012 & we`re looking forward to the great music that`s gonna come out in 2013 :)

The Mix features Artists & Labels like The Reflex, Dicky Trisco, Deep & Disco, LTJ, Late Nite Tuff Guy, Bicep, Disco Deviance, The Revenge, 78 Edits & a couple of our own Get Down Edits tracks. We will try to get a full tracklist up tomorrow.

but for now we`d like to wish everyone a very Merry Christmas & a Happy New Year :)

All dj sets & other radio sets are programmed with the permission of the owners.

(Demo Short Clips - not downloadables)

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

They signed to Fantasy Records in 1973. They are best known for their 1975 hit “Walking in Rhythm”, which received a Grammy nomination.

Their 1975 song “Rock Creek Park” from the City Life album has been sampled numerous times by groups such as De La Soul, Eric B. & Rakim, Big Daddy Kane, NWA, Massive Attack, Ice Cube, Heavy D, Nas and Grandmaster Flash & the Furious Five. The song has also appeared on the soundtrack to the popular video game Grand Theft Auto: San Andreas.

A great album of funky dancefloor tunes!Originally issued in 1978, and clearly for the New York dancefloor crowd, the record takes the earlier work of funk group The Blackbyrds, and remixes the tracks slightly to pump up the groove a bit for the dancers.
While the approach might not sound good on paper, it actually works wonderfully on the record, as the tunes retain all of the jazz funk feel of the originals, without any of the cheap tricks you might expect.

The album’s as essential as any of the group’s earlier albums, and it’s filled with great versions of classics like Supernatural Feeling, Gut Level, Walking In Rhythm, Do It Fluid, Rock Creek Park, and Happy Music.

''Soulful Source''

Biography:
The Blackbyrds were a jazz-funk group with thick R&B streaks running down their backs. Assembled by Donald Byrd in 1974, the group’s original members — percussionist Pericles “Perk” Jacobs, Jr., drummer Keith Killgo, keyboardist Kevin Toney, reeds player Allan Barnes, bassist Joe Hall, guitarist Barney Perry — were mined from Howard University’s music department, where the doctor and jazz legend was an instructor. (Other key players included guitarist Orville Saunders and saxophonist/flautist Steve Johnson.) During the Blackbyrds’ nearly decade-long existence, the group cut a handful of LPs (1973’s The Blackbyrds, 1974’s Flying Start, 1975’s City Life, 1976’s Unfinished Business, 1977’s Action, 1980’s Better Days); scored films (1975’s Cornbread, Earl and Me); and supported artists like B.B. King, Mandrill, and Roberta Flack. “Walking in Rhythm,” “Rock Creek Park,” and “Happy Music” are their three best-known cuts; they have remained underground club classics, and they have been kept alive, in part, through sampling. The group’s catalog has been overhauled and reissued a number of times; multiple best-ofs have been released (Fantasy’s Greatest Hits is the strongest and most thorough), and most of the group’s full-length output has been put out on CD through two-fers. As far as outside activities were considered, Barney Perry released a solo album under the name Blair in 1978 (through his own Solar Sound imprint). The remaining members’ involvements are far too extensive to list.By Andy Kellman (AMG)

Saturday, 22 December 2012

GoGo Get Down is the latest compilation from Dave Lee aka Joey Negro to be released on the Z Records label. A mammoth and rare retrospective of Washington DC’s spectrum of Ghetto Funk, this collection showcases the visionary side of the GoGo scene while bringing its key artists the modern exposure they deserve.

Joey Negro gives us an insight into the vintage rhythms and chiming cowbells as well as the dedicated soul screams that pierce through the retro soul rhythm that gives GoGo its distinctive sound.

“As someone who has more or less made a career out of being a music lover, it’s a great buzz to put together and release albums of these semi-forgotten genres like GoGo or our recent Brit Funk compilation. Many of the tracks included on this album are ultra obscure local-only releases which I’ve picked over my years of digging. Seeing a project like this through from the initial concept to the final product is quite a task at Z HQ and at points you can’t help but wish you’d never started the damn thing...

However, all of the graft is forgotten once the finished release arrives and you’re listening to those bumpy DC grooves in all their re-mastered glory”

Dave Lee aka Joey Negro

Developed first by jazz guitarist and singer Chuck Brown (whose group the Soul Searchers were at the top of D.C.’s scene), GoGo is characterized by its laidback but dynamic funk rhythms accented with loose conga beats, freaky keyboard leads, and strong, emotional brass arrangements. It’s also been a staple of the mid-Atlantic scene for the past 35 years.

From remarkably full-on, joyous grooves this unique collection aims to celebrate the potent yet smooth GoGo sound, with its well represented roots flirting through a framework of lightly layered keys and horns. GoGo Get Down is a high quality and deep snapshot of this highly regional Washington D.C. brand of funk featuring delights from the likes of the Godfather of GoGo, Chuck Brown, Trouble Funk, Rare Essence, Experience Unlimited, and many more forgotten classics…

“I started buying Funk and Soul records from Soul Bowl in Norfolk in about 1980, John Anderson the owner had a big barn full to the rafters with vinyl, he would travel the breadth of the States - bringing back container loads of rare music. So many in fact it was a daunting prospect to know where to start in that crazy Barn... endless shelves many of which you could not even get at as there were so many piles of records stacked on the floor. It was here that I first discovered Chuck Brown & the Soul Searchers…. ‘Ashley’s Roach Clip’ was the sort of track title that would grab my attention? According to John it was “shite” from Washington DC… from that album I hunted out many more records, slowly putting the story together and thus finding GoGo. I even went on a pilgrimage to Washington in about 1986 on a record-buying trip… Had to ship ‘em back and pay a stupid amount of tax but those tunes still rock and those toms will always roll…” Jon More (Coldcut), March 2012

“GoGo Get Down is a must for have any serious soulful record collector” Jazzie B, March 2012

“These GoGo tracks certainly brought a smile to my face. I have a monthly conversation with Ross Allen regarding the GoGo revival which we both think will happen. Wishful thinking! So it's great you guys are doing a comp of GoGo killers which in the scheme of things could prove us both wrong. A fantastic selection and believe me I shall be throwing down very hard! Put your hands up for D.C.!” Ashley Beedle.

All dj sets & other radio sets are programmed with the permission of the owners.

(Demo Short Clips - not downloadables)

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

All dj sets & other radio sets are programmed with the permission of the owners.

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

Wednesday, 19 December 2012

Tom Moulton is an American record producer. He is the originator of the remix, the breakdown section ("Disco Break"), and the 12-inch single vinyl format. He has humbly maintained that the last two innovations were pure accidents. Perhaps contrary to expectation, Moulton's early successes in "mixing down" dance records were the result of insistently taking away elements from the original multi-track.
Although not a disc jockey, Thomas Jerome Moulton was more essential to the rise of disco than any other single person in its history. Born in Schenectady, New York on November 29, 1940 music was in his life from a very early age. Moulton even quit high school to work in a record store in the late 1950s. With aspirations to become a radio DJ, he quickly found that he didn't have what it took to be a DJ in the turbulent payola-ridden radio scene of the 1950s.
His career started in the late 1960s with a self-made tape of overlapping songs created for the Fire Island bar and restaurant The Sandpiper. As the club in question was very high profile, it was only a matter of time before his skills were noticed and put to use pre-release by those in the music industry. Moulton preferred R&B and dance music, but actually mixed a wide range of popular recordings. A noteworthy quote has him saying, "I never made a dance record, I made records you can dance to."

Moulton worked as a model at the Bookings and Ford agencies before beginning his production career. Before that, he had worked in the music industry, holding a sales and promotion job at King Records (from 1959 to 1961) and similar positions at RCA and United Artists. He eventually left due to his disgust at the industry's dishonesty.
His notable achievements in recording technique include extending the high frequencies and tightening the bottom for better sounding play at high volume and lengthening for greater musical and emotional impact by repeating key passages.
He was responsible for the first continuous-mix album side ever, on Gloria Gaynor's seminal disco album "Never Can Say Goodbye", earning him the title the "father of the Disco Mix" . Among some of his other success in mixing songs are Three Degrees, The' "Dirty Ol' Man", MFSB featuring Three Degrees, The "Love Is The Message", B.T. Express' "Do It (Til You're Satisfied)", Trammps, The' "Disco Inferno", People's Choice's "Do It Any Way You Wanna", Andrea True Connection's "More, More, More" First Choice's "Doctor Love", and Claudja Barry's album "The Girl Most Likely".
Between 1977 and 1979, he produced Grace Jones' first three albums, including one of the singer's biggest hits, her rendition of Édith Piaf's "La Vie en rose".

Tom Moulton's innovative work was honored at the 2004 Dance Music Hall of Fame ceremony in New York City when he was inducted for his achievements as a Remixer. He is the official archivist of the Bethlehem Jazz and Salsoul music catalogues, and has overseen all of the digital remastering for the entire catalog. In late 2006 Moulton would remix the Brand New Heavies, The (featuring N'Dea Davenport) single "I Don't Know (Why I Love You)", a cover of the Stevie Wonder and Jackson 5 hit.
A Tom Moulton Mix is a phrase indicating that a dance record had been mixed by Tom Moulton. Prior to Moulton (and throughout his active years), no major player had prefaced their name with "A" and followed it with "Mix". One will find examples of this usage today, but in Mr. Moulton's heyday such usage was unheard of for those seeking respect in the industry. Moulton's use of the phrase led to similar usage by his contemporaries within the Salsoul Records family. Such usage would have given him the status of "mentor" rather than infringe his territory. In a late 1990s interview, Mr. Moulton himself cast aspersion upon Vincent Montana Jr.'s attempt to use this titling (Montana and Moulton were known to have had a difficult professional relationship).
"A Tom Moulton Mix" was later used as the title of a compilation of Moulton's remixes on Soul Jazz Records. Tom's remixes, both past and present, continue to be played on radio stations today, and more recently aired on Retro Soul Radio London, are Tom's outstanding Philly Regrooved Albums. Retro Soul Radio presenters Dave Simons and Neil Winter had the pleasure of speaking with Tom about his career, his music and his passion for the music industry. The interview was aired on Retro Soul Radio with his fans from all over the world locked in for over 2 hours listening to his tracks and what he had to say about them.From Discogs

From SoulJazz Records:
Tom Moulton is one of the most important people in the history of dance music. From inventing the first ever 12" single to remixer to the stars, the trademark "A Tom Moulton Mix" is a mark of quality given to only the finest records -From Grace Jones’ seminal "La Vie En Rose" to the million-selling MFSB disco anthem "Love Is The Message", to over 4000 remixes. "As in Life, there are musical benchmarks against which other works are usually sized up in their field. When thinking of Dance Music, and its now long and proud heritage, there is no denying that one of the yardsticks everyone comes back to time and time again is the visionary body of work that Tom Moulton has accumulated over the course of his long and illustrious career. François Kervorkian January, 2006 Tom Moulton began his career in the early 1960s as a Promotions man at the legendary R’n’B label King Records, home of James Brown, Little Willie John, Hank Ballard and The Midniters and many more. In the 1960s he also began a career in modelling that would run parallel to his music. In 1971, he visited New York’s Fire Island, the infamous gay holiday resort where he describes seeing ‘white men dancing to black music’ for the first time. It was here that Tom Moulton first began splicing up tapes for the discotheque. In the early 1970s DJs played 45rpm seven-inch singles which lasted around 3 minutes. Tom Moulton wanted to extend the time of a song in order to keep people on the dancefloor. His first remix was BT Express "Do It Til You’re Satisfied", followed by "Peace Pipe" which he ‘extended’ to over 6 minutes long – and with this invented the "Remix". He then took this further with Gloria Gaynor’s "Never Can Say Goodbye" which Tom Moulton mixed together as an 18-minute medley, once again designed for dancers. The first time I heard a Tom Moulton "Disco Mix", I realized that this was the definitive version - they were pumped up, spread out, often with a much needed intro & break added. These seemed to be mostly philly-oriented records that I was already in love with, and now they had new added parts, which lots of times was now the best part of the record. It seemed clear that Tom was able to pick the records he would work on, everything had class, which still holds true today, whenever I talk to him, he's working on a wide assortment of sensational music and after all these years, he’s still completely passionate about it all - a real musicaholic. Danny Krivit In 1974 whilst continuing his search for louder, longer records he cut the first 12" single ever along with cutting engineer Jose Rodriguez. (Al Downing – I’ll be Holding On). He also started to write the first ever Disco column for Billboard magazine. Tom Moulton personally delivered many of his original acetates to the underground dance DJs in New York City such as Richie Kaczor, David Rodriguez, Steve Aquisto, Bobby DJ, Larry Levan and Walter Gibbons. In the 1970s Tom Moulton became the most in-demand remixer in the world. "A Tom Moulton Mix" became a signifier of both musical integrity and chart success as Grace Jones, The Trammps, MFSB, Loleatta Holloway, Andrea True Connection and hundreds more all benefitted from the sonic beauty of "A Tom Moulton Mix". "Tom Moulton played a major part in laying the foundations of dance music as we know it today. Over three decades he has designed numerous Disco classics as well as Pop hits ranging from Harold Melvin and the Blue Notes to Robert Palmer (he was behind "Every Kind of People") taking them many steps above. Today at 60plus he is still mixing and producing, in a crusade against the current musical mediocrity. From a little corner of his Manhattan apartment, his eyes locked on a computer he is harnessed to deliver the legendary Tom Moulton mix, he breathes life into songs that were gathering dust in warehouses, usually forgotten by their current owners, the Major labels. And what a life that is, one that is vibrant and thrilling, miles away from the droney sound of contemporary club music. Tom is definitely a man of sheer brillance, a quality that is all too rare in our scene, meeting him was one of the best encounters I've ever had. Dimitri from Paris - January 2006" This is the first album to bring together some of the classic and rare tracks that have been blessed with "A Tom Moulton Mix" on the record label. It is the story of one man and his amazing role in the history of the rise of Disco from it’s funk and soul roots to the hedonistic days of Studio 54 and the Paradise Garage.http://www.souljazzrecords.co.uk/releases/?id=5956

All dj sets & other radio sets are programmed with the permission of the owners.

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These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

Sunday, 16 December 2012

"Known for his cheeky sample art, Mr Bird has delivered serious party vibes with every release so far. The cheekily titled "Champignon Sound" is less of a floor jammer and more of a mood setter with what could quite possibly be a low-swung, head nodding homage to Mark Farina's Mushroom Jazz project. The end result is a super smooth vibe that's perfect for headphones and warm ups alike. If you need more pep then jump on Jayl Funk's slapbasstastic remix that comes complete with a flutter of flutes. DJ Tzinas' remix pays respect to Bird's original vibe but with more jazz sensibility. There's plenty more we could write about this release but there's not mushroom left to fit the text!"

These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@yahoo.com.br. and the links will be immediately removed.

Saturday, 15 December 2012

''As you've probably come to expect, it features some pretty tasty and rather hard to find disco tracks. Most, as always, tweaked here and there by Al Kent. Double CD and limited eight track double vinyl. Nice.

To celebrate we're having a Glasgow launch party. It's been too long since we did something at home. We've been hearing great things about the Berkeley Suite; and with bookings like Hore Meat Disco, Prins Thomas, Rub N Tug and Gerry Rooney on their CV it had to be good. And it is. We've made our feelings about city centre clubs quite clear in the past, so imagine our joy at finding a cosy basement beneath a pawn shop, slightly off the beaten track, with no signage whatsoever to indicate what's going on inside, a killer sound system with the added bonus of the Melting Pot vintage Urei. Just bloody perfect.

Despite having some great guests in recent times, we've decided, since it's a Disco Love launch party, to let Al Kent loose for the full four hours. Al's played quite a few longer sets over the past year and it just makes more sense to let one DJ set the tone.

And if all that isn't tempting enough, we'll be giving away pre-release copies of the CD and a Million Dollar Disco goody bag to the first 50 through the door.